Plagiarism and Literary Property in the Romantic PeriodUniversity of Pennsylvania Press, 2013 M04 23 - 256 pages In a series of articles published in Tait's Magazine in 1834, Thomas DeQuincey catalogued four potential instances of plagiarism in the work of his friend and literary competitor Samuel Taylor Coleridge. DeQuincey's charges and the controversy they ignited have shaped readers' responses to the work of such writers as Coleridge, Lord Byron, William Wordsworth, and John Clare ever since. But what did plagiarism mean some two hundred years ago in Britain? What was at stake when early nineteenth-century authors levied such charges against each other? How would matters change if we were to evaluate these writers by the standards of their own national moment? And what does our moral investment in plagiarism tell us about ourselves and about our relationship to the Romantic myth of authorship? |
From inside the book
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... relationship to literary property was legally, culturally, and historically distinctive—then what was at stake when Romantic-period writers levied these charges against each other? How was the articulation of acceptable literary ...
... relationship to both plagiarism and more familiar literary texts of the early nineteenth century, this is essentially a study of the Romantic “canon” and of the ways in which its formation was con— nected to the critical debate ...
... relationship to appropriation, borrowing, or plagiarism. However, while this book is primarily about Romantic-period literature and its related historical and critical contexts, readers interested in other historical periods and ...
... relationship to either authorship or appropriation. This history of Romantic-period plagiarism and the aesthetic contests that were central to the contemporary debate are the topics of the chapters that follow. Chapter 1 Romantic ...
... relationship was constitutive. The stakes in Romantic-period charges of plagiarism were aesthetic, and the contemporary debates regarding the legitimacy or illegitimacy of particular literary obligations masked a larger contest about ...
Contents
1 | |
17 | |
3 Property and the Margins of Literary Print Culture | 49 |
Byron Originality and Aesthetic Plagiarism | 86 |
Travel Writing and the Defense of Modern Poetry | 122 |
Class Improvement and Enclosure | 144 |
Afterword | 182 |
Notes | 189 |
Bibliography | 211 |
Index | 227 |
Acknowledgments | 235 |